Category: Transitional Typeface: Caslon A · design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases

“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0

AaTypeface: Caslon

Category: Transitional

A typeface family de-signed by Adrian Frutiger and released by his em-ployer Deberny & Pei-gnot in 1957Based on the model of nineteenth-century Ger-man typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehen-sive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototype-setting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with mul-tiple widths and weights that maintained a unified design idiom. However,

the actual typeface names within Univers family include both number and letter suffixes. The design was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the letterforms are slanted, with minor correc-tions but no other major alterations. This is dif-ferent from a true italic, in which the letterforms become modified to resemble handwriting more.[8] In the original design, Frutiger chose obliques with the ex-tremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases.

Frutiger himself has com-mented: “Helvetica is the jeans, and Univers the dinner jacket.

Universe1957by Adrian FrutigerSans Serif

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AA typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and ma-trices for every size to be used.

Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The de-sign was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the letterforms are slanted, with minor corrections but no other major alterations. This is different from a true italic, in which the letter-forms become modified to resemble

handwriting more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases.

Frutiger himself has commented: “Hel-vetica is the jeans, and Univers the din-ner jacket. A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and ma-trices for every size to be used.

Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The de-sign was developed from 1953 to a final release in 1957.

A typeface family designed by Adrian Frutiger and released by his employer De-berny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a com-prehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technol-ogy of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type de-signs. Frutiger envisioned a large family with multiple widths and weights that main-tained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The design was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the letterforms are slanted, with minor corrections but no other major alterations. This is different from a true italic, in which the letterforms become modified to resemble handwriting more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases.

Frutiger himself has commented: “Helvetica is the jeans, and Univers the dinner jacket.

“The quick brown fox jumps over the lazy dog”

& ! ? $ ¶ § ( ) [ ] @ # % ‹ › « » : ; . , - – — / “ ” ’ ” *

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ


A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a compre-hensive range of weights and widths.The design concept of Univers was intended to take advan-tage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and varia-tions within the type family are designated by the use of num-bers rather than names, a sys-tem since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified de-sign idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The design was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the letterforms are slant-ed, with minor corrections but no other major alterations. This

is different from a true italic, in which the letterforms become modified to resemble hand-writing more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases.

Frutiger himself has com-mented: “Helvetica is the jeans, and Univers the dinner jacket. A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a compre-hensive range of weights and widths.The design concept of Univers was intended to take advan-tage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and varia-tions within the type family are designated by the use of num-bers rather than names, a sys-tem since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified de-

sign idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The design was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the letterforms are slant-ed, with minor corrections but no other major alterations. This is different from a true italic, in which the letterforms become modified to resemble hand-writing more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases.

Frutiger himself has com-mented: “Helvetica is the jeans, and Univers the dinner jacket. A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a compre-hensive range of weights and widths.The design concept of Univers was intended to take advan-tage of the new technology of phototypesetting, in which fonts were stored as glass discs

A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a compre-hensive range of weights and widths.The design concept of Univers was intended to take advan-tage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and varia-tions within the type family are designated by the use of num-bers rather than names, a sys-tem since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified de-sign idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The design was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the letterforms are slant-ed, with minor corrections but no other major alterations. This

is different from a true italic, in which the letterforms become modified to resemble hand-writing more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases.

Frutiger himself has com-mented: “Helvetica is the jeans, and Univers the dinner jacket. A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a compre-hensive range of weights and widths.The design concept of Univers was intended to take advan-tage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and varia-tions within the type family are designated by the use of num-bers rather than names, a sys-tem since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified de-

sign idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The design was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the letterforms are slant-ed, with minor corrections but no other major alterations. This is different from a true italic, in which the letterforms become modified to resemble hand-writing more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases.

Frutiger himself has com-mented: “Helvetica is the jeans, and Univers the dinner jacket. A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a compre-hensive range of weights and widths.The design concept of Univers was intended to take advan-tage of the new technology of phototypesetting, in which fonts were stored as glass discs


A typeface family designed by Adrian Frutiger and released by his employer De-berny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypeset-ting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and varia-tions within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univ-ers family include both number and letter suffixes. The design was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the letterforms are slanted, with minor corrections but no other major alterations. This is different from a true italic, in which the letterforms be-come modified to resemble handwriting more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases.

Frutiger himself has com-mented: “Helvetica is the

jeans, and Univers the din-ner jacket. A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypeset-ting, in which fonts were

stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and varia-tions within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univ-ers family include both number and letter suffixes. The design was developed from 1953 to a final release

in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the letterforms are slanted, with minor corrections but no other major alterations. This is different from a true italic, in which the letterforms be-come modified to resemble handwriting more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some

A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a compre-hensive range of weights and widths.The design concept of Univ-ers was intended to take advantage of the new technol-ogy of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and varia-tions within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple

widths and weights that maintained a unified design idiom. However, the ac-tual typeface names within Univers family include both number and letter suffixes. The design was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an oblique, in which the let-terforms are slanted, with minor corrections but no other major alterations. This is different from a true italic, in which the letter-forms become modified to resemble handwriting more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases.

Frutiger himself has com-

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a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C D E F G H I J K L M N O P Q R S

“The quick

brown fox jumps over the lazy dog”


A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.

Different weights and variations with-in the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suf-fixes. The design was developed from 1953 to a final release in 1957.

Like most grotesque and neo-gro-tesque sans-serifs, Univers’s slanted form is an oblique, in which the letter-forms are slanted, with minor correc-tions but no other major alterations. This is different from a true italic, in which the letterforms become modi-fied to resemble handwriting more.[8] In the original design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was re-duced to twelve in some later releases.

Frutiger himself has commented:

“Helvetica is the jeans, and Univers the dinner jacket. A typeface family de-signed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.



Frutiger himself has commented: “Helvetica is the jeans, and Univers the dinner jacket. A typeface family de-signed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.


Like most grotesque and neo-gro-tesque sans-serifs, Univers’s slanted form is an oblique, in which the letter-forms are slanted, with minor correc-tions but no other major alterations. This is different from a true italic, in which the letterforms become modi-fied to resemble handwriting more.[8] In the original design, Frutiger chose obliques with the extremely aggressive

A typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.



Frutiger himself has commented:

“Helvetica is the jeans, and Univers the dinner jacket. A typeface family de-signed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.



Frutiger himself has commented: “Helvetica is the jeans, and Univers the dinner jacket. A typeface family de-signed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957Based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.The design concept of Univers was intended to take advantage of the new technology of phototypesetting, in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used.


Like most grotesque and neo-gro-tesque sans-serifs, Univers’s slanted form is an oblique, in which the letter-forms are slanted, with minor correc-tions but no other major alterations. This is different from a true italic, in which the letterforms become modi-fied to resemble handwriting more.[8] In the original design, Frutiger chose obliques with the extremely aggressive


Universe1957by Adrian FrutigerSans Serif

Universe1957 Adrian FrutigerSans Serif“The quick brown

fox jumps over the lazy dog”

Universe1957




a b c d e f g h i j k l m n o p q r s t u v w x y z

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


& ! ? $ ¶ § ( ) [] @ # % ‹› «» : ; . , - – — / “”’” *0 1 2 3 4 5 6 7 8 9


The Golden Section Divine Proportion visual representation of a number called Phi (pronouned fi)

Phi is 1.618033988749895, or by the numerical sequence called the Fibonacci sequence.

Phi Creates the Divine Proportion Called by Renaissance artists because of it’s abundance in the known universe, they thought it was created by God.

Using the Divine Proportion as a guide in compositions can improve layouts and design.

Multiply (or divide by 1.62) and place guides

The Golden Section

Divine Proportion

This proportio is a visual representation of a number

called Phi (pronouned fi).

Phi is 1.618033988749895, or by the numerical se-

quence called the Fibonacci sequence.

Phi creates the Divine Proportion (so called by the re-

naissance artists because of it’s abundance in the known

universe, they thought it was created by God), the Divine

Proportion is used by artists and designers.

Using the Divine Proportion as a guide to your compo-

sitions can improve the communication of your design.

Multiply (or divide by 1.62) and place guides


Van de Graaf canonVan de Graaf devised this construction to show how Gutenberg and others may have divided their page to achieve margins of one-ninth and two-ninths and a type area in the same proportions as the page.

The Van de Graaf canon is a historical reconstruction of a method that may have been used in book design to divide a page in pleasing proportions.[5] This canon is also known as the “secret canon” used in many medieval manuscripts and incunabula.














Create a baseline grid by choosing the typesize and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Use this line space increment to set the baseline grid in your docu-ment preferences.To style headlines, captions, and other elements, choose line spacing that works with the baseline grid, such as 18/24 for headlines, 14/18 for sub-

heads, and 8/12 for captions. Where possible, position all page ele-ments in relation to the baseline grid. Don’t force it, though. Sometimes a layout works better when you override the grid. View the baseline grid when you want to check the position of ele-ments; turn it off when it’s distracting. Create a baseline grid by choosing the

typesize and leading of your text, such

as 10-pt Scala Pro with 12 pts leading

(10/12). Use this line space increment

to set the baseline grid in your docu-

ment preferences.

To style headlines, captions, and other

elements, choose line spacing that

works with the baseline grid, such as

18/24 for headlines, 14/18 for sub-

heads, and 8/12 for captions.

Where possible, position all page ele-

ments in relation to the baseline grid.

Don’t force it, though. Sometimes a

layout works better when you override

the grid. View the baseline grid when

you want to check the position of ele-

ments; turn it off when it’s distracting.

Baseline grids serve to anchor layout ele-

ments to a common rhythm. Create a base-

line grid by choosing the typesize 14/18 and

leading of your text, such as 10-pt Scala Pro

with 12 pts leading (10/12). Use this line

space increment to set the baseline grid in

your document preferences.

To style headlines, captions, and other ele-

ments, choose line spacing that works with

the baseline grid, such as 18/24 for head-

lines, 14/18 for subheads, and 8/12 for cap-

tions.

Where possible, position all page elements

in relation to the baseline grid. Don’t force

it, though. Sometimes a layout works better

when you override the grid. View the base-

line grid when you want to check the position

of elements; turn it off when it’s distracting.

Baseline Grids Serve To Anchor Lay-out Elements To A Common Rhythm.


Create a baseline grid by choosing the typesize and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Use this line space increment to set the baseline grid in your docu-ment preferences.To style headlines, captions, and other elements, choose line spacing that works with the baseline grid, such as 18/24 for headlines, 14/18 for sub-

heads, and 8/12 for captions. Where possible, position all page ele-ments in relation to the baseline grid. Don’t force it, though. Sometimes a layout works better when you override the grid. View the baseline grid when you want to check the position of ele-ments; turn it off when it’s distracting. Create a baseline grid by choosing the

typesize and leading of your text, such

as 10-pt Scala Pro with 12 pts leading

(10/12). Use this line space increment

to set the baseline grid in your docu-

ment preferences.

To style headlines, captions, and other

elements, choose line spacing that

works with the baseline grid, such as

18/24 for headlines, 14/18 for sub-

heads, and 8/12 for captions.

Where possible, position all page ele-

ments in relation to the baseline grid.

Don’t force it, though. Sometimes a

layout works better when you override

the grid. View the baseline grid when

you want to check the position of ele-

ments; turn it off when it’s distracting.

Baseline grids serve to anchor layout ele-

ments to a common rhythm. Create a base-

line grid by choosing the typesize 14/18 and

leading of your text, such as 10-pt Scala Pro

with 12 pts leading (10/12). Use this line

space increment to set the baseline grid in

your document preferences.

To style headlines, captions, and other ele-

ments, choose line spacing that works with

the baseline grid, such as 18/24 for head-

lines, 14/18 for subheads, and 8/12 for cap-

tions.

Where possible, position all page elements

in relation to the baseline grid. Don’t force

it, though. Sometimes a layout works better

when you override the grid. View the base-

line grid when you want to check the position

of elements; turn it off when it’s distracting.

Baseline Grids Serve To Anchor Lay-out Elements To A Common Rhythm.

Documents

Category: Transitional Typeface: Caslon A · design, Frutiger chose obliques with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases